For artists, having an interesting history alongside interesting ideas is not a requirement, but Tina Winkhaus possesses both—which has surely affected her work.
Born into a privileged German family, Winkhaus cultivated a gambling addiction by the tender age of 16. Forced by her family to choose between a job and therapy, teenaged Tina responded to her love of acrobats, artists and con-men and became a circus photographer, then going on to study photography formally. Since then, the award-winning artist has not only had continuous gallery shows, she has also exhibited internationally in museums.
One For All or How I Learned to Believe in God (2007) displays Winkhaus’ eye for classic composition in a thoroughly modern setting. Photo: Courtesy of the artist.
Her portraits—because they’re definitely portraits, even if the subjects have included a flock of flamingos and a bouquet of flowers—are rich with post-production to create beautifully saturated images that often recall the elegance of classical painting and portraiture; the full title of her Disparate series even states that it was inspired by Goya. But with a decidedly modern perspective and ample evidence of her affection for curiosities, the chronological disconnect generated is pleasingly confusing. And although her pictures are often dark or macabre, there’s regularly a wry humor at work. There are many layers in each Winkhaus photo—one suspects the same is true of the artist herself.
In her Longing or New Romantic series, Winkhaus bizarrely re-imagines real life people, such as Armin Meiwes, the Cannibal of Rothenburg (2007). Photo: courtesy of the artist.
All work by Tina WInkhaus 2012. Videoinstallation "All Shitty Roundabout" by Fabian Grobe & Tina WInkhaus.
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